Requiem for the Gods - Castlevania: Symphony of the Night (solo piano cover)
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So like I mentioned before,
So like I mentioned before, every time I go full lizard brain on something, there is always a teeny tiny piece of sanity remaining that's like, "REMEMBER WHAT LIFE WAS LIKE BEFORE OCTOPATH 2?? REMEMBER YOU WERE WORKING ON ALL THIS OTHER STUFF?!" Lol so here’s one I’ve been picking at since January lol, Requiem of the Gods from SOTN, the theme that plays in the Royal Chapel. Always adored this one as it’s in the same baroque vein as Wood Carving Partita, though whereas Wood Carving is more full on Vivaldi, there is a bit more polyphonic writing in Requiem, which is more reminiscent of Handel and even Pachelbel especially when the organ goes full stop in that last part and intertwines beautifully with the vocal line. Also what makes Requiem interesting is that it’s this anachronistic mishmash of scattered baroque and liturgical compositional elements in ballad form held together by a quasi trap beat LMAO.
We start with a creepy organ intro, sparsely populated with tritones and minor seconds, before launching into a minor four part chorale with all the hallmarks of a typical Handellian cantus firmus, which is then followed up by a repercussive string ostinato interlude, also employed by Handel (ex: Zadok the Priest). Then the vocal melody comes back over it, before launching into a really nice major section that serves as the climax, and in typical Handel fashion of using counterpoint to dramatic end, an extremely interesting countermelody is added in the organ’s lower register. Then it all comes back down the ground when the vocals return with a nice Neapolitan 6th thrown in to close off an epic deceptive cadence that seems to end on a Picardy third only to noodle around until it doesn’t. It’s great, really.
So the challenges I faced in trying to adapt this for solo piano were timbral, mainly–choirs and organ produce this amazingly full, sustained sound that could go on indefinitely, and a piano key dies as soon as it’s struck. But perhaps the biggest issue was that it was baroque era writing in AMERICAN POP SONG FORM. Two repeated verses, a B section (chorus), a transformed repeat of verse A. WHAT DO 😂
Sooooo I did the only thing I could do and threw together my OWN MISHMASH OF CANONICAL AND FUGAL WRITING THAT WOULD NEVER STAND UP WITH ANYONE FAMILIAR WITH FUX’S GRADUS AD PARNASSUM LMAO 😂 but centered around Yamane’s original as best I could. I treated her melody as a fugal subject and began a quasi fugue with the countersubject a fifth apart but that’s as far as it got with proper fugue form lmao and i just embellished the rest referencing figurations from Pachelbel’s Magnificat Fugues (Septimi Toni nos 1, 6 and Primi Toni no. 1), because his two voice contrapuntal writing was simpler due to the type of organ he had at Nuremberg, as opposed to Bach’s incredibly chromatic and dense polyphonic textures. But because I’m a ho for Bach I couldn’t resist slipping in bits from Die Kunst der Fuge (Contrapunctus I) lol and I tried to make the second statement of that organ section more grand, after his Clavier-Uebung III, perhaps one of the greatest organ works ever written (and used on a humble fan cover for one of the greatest PS1 action adventure platformers ever made lmao 😂)
ANYWAYS LMAO it’s a mess that masquerades like baroque but i hope it works! the fact that it was in AABA pop song form was breaking my brain sob
Performance-wise, I had to stick as close to strict tempo as I could, because of the trap beat lmao. I hit the lowest Ds whenever possible!!! LOL! Also because of all the two and three part polyphony, had to treat it like Bach, except way more pedal than I would have liked (FORGIVE ME SOB)
Anyways, Royal Chapel. GOSH i loved that area, just because the layout was so cool, like those super high ceilings, the bell towers, it just made for really neat exploration and combat to have all that vertical space especially with that sentient sword floating around, and once you got the gravity boots that area was just even more fun. And that creepy confessional booth!?? To this day I have no idea what the purpose of that was except maybe for immersion and flavor but it was just such a cool addition, and the music changed, and you got stabbed sometimes, i mean, just one of the many little things that made SOTN a masterpiece.
I have big plans for this OST, I swear! We just gotta ride out this Octopath nonsense first, sorry not sorry lmao. Thanks so much for listening and sticking around everyone!! ❤️ Have a great week!
Castlevania covers: Castlevania: Symphony of the Night - ...
Also your regular reminder that @MichiruYamane-eu3ph has a youtube channel and you should all go tell her how much you love her. Check out her piano version of Requiem for the Gods!!! It's so good! 【神々たちのレクイエム/Requiem for the Gods】
We start with a creepy organ intro, sparsely populated with tritones and minor seconds, before launching into a minor four part chorale with all the hallmarks of a typical Handellian cantus firmus, which is then followed up by a repercussive string ostinato interlude, also employed by Handel (ex: Zadok the Priest). Then the vocal melody comes back over it, before launching into a really nice major section that serves as the climax, and in typical Handel fashion of using counterpoint to dramatic end, an extremely interesting countermelody is added in the organ’s lower register. Then it all comes back down the ground when the vocals return with a nice Neapolitan 6th thrown in to close off an epic deceptive cadence that seems to end on a Picardy third only to noodle around until it doesn’t. It’s great, really.
So the challenges I faced in trying to adapt this for solo piano were timbral, mainly–choirs and organ produce this amazingly full, sustained sound that could go on indefinitely, and a piano key dies as soon as it’s struck. But perhaps the biggest issue was that it was baroque era writing in AMERICAN POP SONG FORM. Two repeated verses, a B section (chorus), a transformed repeat of verse A. WHAT DO 😂
Sooooo I did the only thing I could do and threw together my OWN MISHMASH OF CANONICAL AND FUGAL WRITING THAT WOULD NEVER STAND UP WITH ANYONE FAMILIAR WITH FUX’S GRADUS AD PARNASSUM LMAO 😂 but centered around Yamane’s original as best I could. I treated her melody as a fugal subject and began a quasi fugue with the countersubject a fifth apart but that’s as far as it got with proper fugue form lmao and i just embellished the rest referencing figurations from Pachelbel’s Magnificat Fugues (Septimi Toni nos 1, 6 and Primi Toni no. 1), because his two voice contrapuntal writing was simpler due to the type of organ he had at Nuremberg, as opposed to Bach’s incredibly chromatic and dense polyphonic textures. But because I’m a ho for Bach I couldn’t resist slipping in bits from Die Kunst der Fuge (Contrapunctus I) lol and I tried to make the second statement of that organ section more grand, after his Clavier-Uebung III, perhaps one of the greatest organ works ever written (and used on a humble fan cover for one of the greatest PS1 action adventure platformers ever made lmao 😂)
ANYWAYS LMAO it’s a mess that masquerades like baroque but i hope it works! the fact that it was in AABA pop song form was breaking my brain sob
Performance-wise, I had to stick as close to strict tempo as I could, because of the trap beat lmao. I hit the lowest Ds whenever possible!!! LOL! Also because of all the two and three part polyphony, had to treat it like Bach, except way more pedal than I would have liked (FORGIVE ME SOB)
Anyways, Royal Chapel. GOSH i loved that area, just because the layout was so cool, like those super high ceilings, the bell towers, it just made for really neat exploration and combat to have all that vertical space especially with that sentient sword floating around, and once you got the gravity boots that area was just even more fun. And that creepy confessional booth!?? To this day I have no idea what the purpose of that was except maybe for immersion and flavor but it was just such a cool addition, and the music changed, and you got stabbed sometimes, i mean, just one of the many little things that made SOTN a masterpiece.
I have big plans for this OST, I swear! We just gotta ride out this Octopath nonsense first, sorry not sorry lmao. Thanks so much for listening and sticking around everyone!! ❤️ Have a great week!
Castlevania covers: Castlevania: Symphony of the Night - ...
Also your regular reminder that @MichiruYamane-eu3ph has a youtube channel and you should all go tell her how much you love her. Check out her piano version of Requiem for the Gods!!! It's so good! 【神々たちのレクイエム/Requiem for the Gods】
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